Alfred Šramek

A production of Strauss' opera 'Der Rosenkavalier' performed at the Saltzburg Festival in 1984. Includes the Vienna State Opera Choir, the Philharmonic Orchestra with singers Wilma Lipp, Anna Tomowa-Sintow and Agnes Baltsa. Conducted by Herbert Von Karaja

Opera in one act with prologue. Based on the production of the Vienna State Opera by Filippo Sanjust. Libretto by Hugo von Hofmannsthal

In an epic tale of good versus evil, Faust sells his soul to the Devil and tries to save Marguerite from an eternity in Hell.

Every bar bubbles with the spirit of the Bohemian countryside in Otto Checnk's picturesque 1982 production from Vienna, where Smetana's comic masterpiece first conquered the heart of opera lovers with its lilting melodies, lovable characters and rousing Czech folk dances. This colourful, beautifully sung performance features legendary Czech soprano Lucia Popp and German tenor Siegfried Jerusalem. Filmed live at the Wiener Staatsoper in 1982, the appearance of the townsfolk, wearing their traditional Bohemian costumes, exuberantly singing and dancing, serves to quickly draw us into the early 1870s and this engaging comedy of love nearly thwarted but ultimately triumphant.

This production is a gala affair; the sets are traditional (evocative of 18th-19th century Spain); the lighting is bright, so colors are good and one can see all of the action. Singers are generally well chosen and perform admirably. However, at this point, slight reservations creep in; although Janowitz (Fidelio/Leonore) and Kollo (Florestan) look "good" and act well, the singing parts tax them a bit when pushed to the limit. Most of the time that doesn't matter, and an argument can be made that a little vocal strain is in character with their dire plight. Ideally, for me, Vickers as Florestan would have added extra vocal heft and more sensitive acting than Kollo.

A live performance of Giuseppe Verdi's opera.

Recorded live at the Vienna State Opera, Placido Domingo and Eva Marton star in a sumptuous recording of Ponchielli's famed four-act melodrama, a story of tyranny and intrigue set in semi-historical and ever-romantic Venice. The action is projected by strong characters whose fundamentally sound instincts become distorted by raw passion. The performance draws upon both human and technical resources including a large ballet and varies in mood from the happy carnival to scenes of the darkest gloom and horror.

To avoid serving his prison sentence, a fashionable socialite sneaks off to a lavish party. The champagne flows as guests waltz the night away, but several of them have something to hide. This internationally renowned production by Otto Schenk takes the audience on a bumpy ride through all kinds of intrigues, clothing mix-ups and mistaken identities, until we finally reach a rather hung-over happy ending. Conducted by Franz Welser-Möst and streamed on Strauss’ birthday, this performance is part of OperaVision’s events celebrating the inaugural World Opera Day on 25 October 2019.

The sets and costumes by Ponnelle are truly reflective of the 'grand style'. Plus the fact that the two lead characters are portrayed by top singers in their absolute prime - both Gruberova and Araiza weren't even 35 years old at the time of this performance, makes this production the most convincing both dramatically and musically. The conducting of Fischer is good - he makes the music come alive, much more so than the MET version.

The production was the Vienna State Opera debut for the young Swiss conductor Philippe Jordan – the Argentinian tenor Marcelo Álvarez, took the title role. His Charlotte on this occasion was the young Latvian mezzo-soprano Elīna Garanča. Her performances have been enthusiastically received and she has already been labelled as the new mezzo wonder. Staged by internationally sought-after Rumanian director, Andrei Serban, the apparently sentimental love story – normally presented in 18th century period costumes - reveals a study of personal relationships and a close observation of a woman, who comes of age too late. Serban’s aim was to rid the opera of the unjustified reputation of banality that clings to it despite its underlying tragic mood. By setting the production in the stiff, claustrophobic atmosphere of a small town in the 1950s, he aimed to make the audience more aware of its deeper levels of self-denial.

"This is Vienna State Opera live at home". March 2015.